Edited by Luke Thurogood, Three and a half point 9 is open for submissions:
“Our journal is excited to be looking for, and publishing, experimental and all other forms of poetry. Whether telling the story of a young Iranian man trapped in a web of love with a Welsh Paramedic, spurting dadaist verse, or quite simply anything your poetic heart creates, you are very welcome to submit.”
The next Other Room takes place 8th July at The Castle Hotel, 7.30 and as always is free. The event is a special edition featuring 6 Welsh poets. See the poster in the middle column for more details.
Hear Chris Paul read from his Veer publication stenia cultas handbook – LINK
Or some poems at onedit – LINK
The New Concrete is a major new anthology of visual poetry edited by Victoria Bean and Chris McCabe and published by Hayward Publishing (July 2015). The book represents visual poetry published from 2000 to the present day and suggests ways in which the original concrete movement of the 1950s and ’60s has been built upon, developed and redefined by subsequent generations of poets and artists. More here.
Friday June 26th at 7.00, £5
For this month only this reading will be held at the Bluecoat, School Lane, L1 3BX in the centre of Liverpool.
The event will take place in the Sandon Room: turn right after entering the main entrance of the Bluecoat, follow the ramp and through the double doors. See the Bluecoat website for directions.
ANDY BROWN’s latest poetry books are WATERSONG (Shearsman, 2015), EXURBIA (Worple, 2014), THE FOOL AND THE PHYSICIAN (Salt, 2012) and 7 previous collections. He published his first novel, APPLES & PRAYERS in 2015 (Dean Street). He is the co-editor of A BODY OF WORK: Poetry and Medical Writing, forthcoming from Bloomsbury (2016) and also edited THE WRITING OCCURS AS SONG: A Kelvin Corcoran Reader (Shearsman, 2014). He is a performing musician, and has been Director of Creative Writing at the University of Exeter for fifteen years.
KELVIN CORCORAN was born in 1956. He is the author of twelve collections of poetry, the most recent of which is For the Greek Spring. In addition he has interviewed Lee Harwood for the volume Not the Full Story: Six Interviews with Lee Harwood, published in June 2008. He has read extensively in the UK and also in Germany and Ireland and accompanied travelling Arts Council exhibitions reading poetry written in response to the work of contemporary painters and sculptors. Three extended interviews with him can be found in The Writing Occurs As Song: A Kelvin Corcoran Reader, the first full-length study of his work, edited by Andy Brown and published by Shearsman in 2014. With Recent projects include collaboration with Greek musicians in setting his poetry to music and collaborative performances with songwriters Jack Hues, Liam Magill and pianist Sam Bailey at the Free Range series of events in Canterbury. Hear some samples of these collaborations at soundcloud here, here, here and here. His recent books include a New and Selected Poems and Backward Turning Sea, both from Shearsman.
The next Other Room takes place 8th July at The Castle Hotel, 7.30 and as always is free. The event is a special edition featuring 6 Welsh poets. See the poster in the middle column for more details. Below is a recent collaboration between two of the our performers, Lyndon Davies and Graham Hartill.
The next Cardiff Poetry Experiment is WEDNESDAY, 24th June
Featuring:
JOHN CAGE’s ONE^7 performed by EEF
followed by:
PETER FINCH AND ASHLEY JOHN LONG VISIT LIDL performed by PETER FINCH (author of Zen Cymru, Selected Later Poems, and hammer lieder helicopter speak) and bassist ASHLEY JOHN LONG
Doors open at 7pm, readings promptly at 7:30pm
Free admission, accompanied by tea, cake and discussions
Waterloo Teahouse
Wyndham Arcade,
Cardiff City Centre,
CF10 1FH
(enter opposite Central Library at the Arcade gate entrance)
Eef is a freelance screen and stage actor based in Cardiff: http://eefbonnet.net/
Peter Finch is a poet is a full-time poet, critic, author and literary entrepreneur living in Cardiff, Wales. He has published more than twenty-five books of poetry including Zen Cymru, published by Seren Books, and The Welsh Poems from Shearsman in 2006. His Selected Later Poems was published by Seren in 2007. A recent work is hammer lieder helicopter speak, a sonic history of twentieth century music published by p.o.w. ( poetry / oppose / war ).
Ashley John Long is a double bassist active internationally as a soloist and ensemble performer. Recent albums include “Back in your own Backyard” with Chris Hodgkins and “The Ripefruit Session” with Tom Jackson.
Sophie Herxheimer London launch of The Listening Forest
Wine, snacks, books, prints, a short reading at around 7.30, & a window exhibition of some of the work made over the last 10 months during Sophie’s residency with Fermynwoods Contemporary Art
Bookartbookshop at 17 Pitfield Street, N1 6HB in Hoxton 18th June 6.30-9PM
five minute walk from Old Street tube
Last year at Sheffield’s Midsummer Festival The Other Room organisers performed for the first time together – the first time in 7 years.
Only one year on and it’s happening again, this time on home turf in Fallowfield, Manchester, at Verbose:
Live literature night Verbose is back on Monday 22 June. This month, our special guests are James Davies, Tom Jenks and Scott Thurston, the three organisers of long-running, Manchester-based experimental poetry reading series The Other Room. No slouches on the publishing front, with over 20 books between them, James, Tom and Scott also collaborate extensively with other writers and run various other enterprises: if p then q independent publishing house (James), zimZalla avant objects (Tom) and Journal of British and Irish Innovative Poetry (Scott).
There will also be an open mic of prose and poetry – visit the Verbose website for instructions on how to sign up. Your host is Sarah-Clare Conlon. It’s free entry and doors are at 7.30pm – get there then to bagsie a seat. Verbose takes place every fourth Monday of the month at Fallow café, 2a Landcross Road, Fallowfield, M14 6NA. See http://verbosemcr.wordpress.com/ for more details.
30th July, 7pm. 3MT, Afflecks Arcade, 35-39 Oldham Street, Manchester, M1 1JG. Tickets £3.
Join us for the launch of our haematological issue, edited by Sarah Crewe, Elinor Cleghorn and David Rees. Featuring readings from Sophie Mayer, Melissa Lee Houghton, Pascal O’Loughlin, Tom Jenks, Dorothy Lehane, Elizabeth Treadwell, Patricia Farrell and Eleanor Ward. No actual blood donations required.
Crossing the Line
Sean Bonney and Stephen Collis
Thursday, June 18 at 7:30pm
The Apple Tree, Clerkenwell, London
CLICK on the poster to enlarge
This exhibition concentrates on Wittgenstein’s insistence in his later writings on the usefulness of the concept of ‘games’ for thinking about language. There is no one quality that unites all the things we think of as games, and to play a game requires not only rules, but the possibility of testing, breaking, revising those rules. Rejecting the idea that language has one essential purpose, or that meaning is something fixed and transparent, the artworks here are engaged in various forms of play, translation or reconfiguration. Language is physical as well as symbolic. Our experiences lay claim to the traditions and practices that give them meaning, but can be turned back thereon to question and confuse what we might otherwise take for granted. We come to points where ordinary language seems inadequate, but this is not because we lack an adequately nuanced set of concepts, or because we need a better ‘theory’ of language, but because we have not paid enough attention to the particular and the familiar. What frameworks support our observations and convictions? The artwork here in some ways mimics the incompleteness of Wittgenstein’s writing, the unendingness of his philosophical project. Variously they show art as a process of discarding and reassembling, of repetition with variation, of careful attention to presentation and nested meanings, to the balance between authorial control and emergence, between understanding and opacity.
We are delighted to welcome you to this playful collaboration between poets, artists and philosophers, where the boundaries between words and images, meanings and material are plucked, strummed, exalted and trammelled.
Peter Hughes will read at The Other Room on 10th June, 7pm, alongside Amy Cutler and Luke Allan.
I sometimes wrote in Italian, in an exploratory kind of way, just for myself, in notebooks. I didn’t try to publish it. Mainly I contented myself with reading Italian, and sometimes translating from Italian into English.
Read more of this interview with Peter Hughes HERE
And a review of Quite Frankly (Translations of Petrarch’s Sonnets) by Steve Waling HERE
Sunday 7th June @ The Hardy Tree Gallery
Richard Barrett
Cathy Weedon
There will also be readings celebrating MJ Weller’s Homebaked Books.
London, UK
NW1 1UN
ABOUT every house has a door http://www.everyhousehasadoor.org
Every house has a door was formed in 2008 by Lin Hixson, director, and Matthew Goulish, dramaturge, to convene project-specific teams of specialists, including emerging as well as internationally recognized artists. Drawn to historically or critically neglected subjects, Every house creates performances in which the subject remains largely absented from the finished work. The performances distil and separate presentational elements into distinct modes – recitation, installation, movement, music – to grant each its own space and time, and inviting the viewer to assemble the parts in duration, after the fact of the performance, to rediscover the missing subject. Works include Let us think of these things always. Let us speak of them never. (2009) in response to the work of Yugoslavian filmmaker Dušan Makavejev, Testimonium (2013) a collaboration with the band Joan of Arc in response to Charles Reznikoff’s Testimony poems, and the on-going project 9 Beginnings based on local performance archives.
Matthew Goulish co-founded Goat Island in 1987, and Every house has a door in 2008. His 39 Microlectures—in proximity of performance was published by Routledge in 2000, and Small Acts of Repair—Performance, Ecology, and Goat Island, which he co-edited with Stephen Bottoms, in 2007. He was awarded a Lannan Foundation Writers Residency in 2004, and in 2007 he received an honorary Ph.D. from Dartington College of Arts, University of Plymouth. Goulish is Provocations editor for The Drama Review, and he teaches in the MFA and BFA Writing Programs of the The School of the Art Institute of Chicago.
Lin Hixson co-founded Goat Island in 1987, and Every house has a door in 2008. She is full Professor of Performance at The School of the Art Institute of Chicago, and received an honorary doctorate from Dartington College in 2007. She was awarded a Foundation for the Arts Award in 2014 and the United States Artists Ziporyn Fellowship in 2009 with Matthew Goulish, her collaborator and co-founder of Every house has a door. Goat Island created nine performance works and toured extensively in the US, England, Scotland, Wales, Belgium, Switzerland, Croatia, Germany, and Canada. Her writing on directing and performance has been published in the journals P-Form, TDR, Frakcija, Performance Research, Women and Performance, and Whitewalls; and included in the anthologies Small Acts of Repair—Performance, Ecology, and Goat Island, Live Art and Performance, Theatre in Crisis?, and the textbook Place and Placelessness in Performance. Hixson has directed two films, Daynightly They re-school you The Bears-Polka and It’s Aching Like Birds, in collaboration with the artist Lucy Cash and Goat Island.
ABOUT forced entertainment
http://www.forcedentertainment.com
http://www.timetchells.com
http://www.shef.ac.uk/english/people/oconnor
Amy Cutler will read at The Other Room on 10th June, 7pm, alongside Luke Allan and Peter Hughes. Below is an example of her series Suckers.
Read more on Amy’s blog HERE
“Across 51 pop-cerebral 14-line poems, Endless/ Nameless dazzles with the minutiae of contemporary life and language. Rachel Sills and Richard Barrett invite us to share in the excitement of their exchange, which feels almost as if they’ve discovered an algorithm for making each line more unforeseen than the last. At times spiky and bristling, at others agonising and direct, and often very funny, this sequence breathes new life into the sonnet form in the way Berrigan and Mayer did. In a synthesised soundscape of television, Greggs outlets and Facebook, in poetry that can jump from Primark to if p then q in a few lines: new and exciting possibilities for lyric expression evolve.” Colin Herd
Out now on The Red Ceilings.
otherroom.org 